26th, bestow the most flattering encomiums upon these two young ladies' performance. They were both recalled-and at the termination of the concert, received public acknowledgments from the directors, a compliment which has never before been paid to any pupil of the Conservatorium.

Adelaide Borghi's passion for singing was so strong, and it was so obstinately thwarted by her father and mother, that the consequence was a nervous fever, beneath which the poor girl was near succumbing. In her delirium she con stantly repeated the name of Rossini, and exclaimed, in accents of despair, that he had told her she never would be a great singer. Adelaide's interview with Rossini appears to have been kept a secret from her relations; but the doctor, finding that her brain was tormented with ideas which Rossini alone could dispel, called upon the composer, who lost no time in returning with him to his patient's bedside. There he repeated to her, again and again, that she would indeed be a great singer, and his assurances and general kindness had the effect of allaying the delirium of the sick child. Rossini then convinced the parents of the inutility, not to say cruelty, of ignoring-from a feeling which, however conscientious, was, after all, but a prejudice-an inclination that was irresistible, and which, properly directed, might lead to the happiest results.

Thus the admirers of Borghi-Mamo owe a double debt of gratitude to Rossini; first, because it was in his operas that she learnt to sing; secondly, because, but for Rossini's personal influence and interference, she would probably never have lived to be, in his own words, "a great singer."

After opposing their daughter's wishes until it was unreasonable to do so any longer, Adelaide's father and mother showed their parental affection by carefully watching over her during the difficult period of her débuts. She had been singing, however, only a few years when she lost them both, and she was already an orphan, then in Malta, where she had a three years' engagement to fulfil, when she accepted the hand of M. Mamo, a member of one of the most respectable famllies in the island. Madame Borghi-Mamo left the Malta Theatre, where she had very lucrative "appointments," for the Scala at Milan. Here she received a smaller salary, but at once established a reputation which has since become European.

For several years after her first appearance, Mdlle. Borghi, naturally of a delicate fragile organisation, was so slender, being at the same time somewhat diminutive in stature, and her voice was so powerful, that she used to say of herself“ La Borghi is heard, but is not seen." Fortunately however, she is heard and seen too, for she is not only one of the most accomplished singers, but also one of the finest actresses on the lyric stage.

LEIPSIC.-SUCCESS OF ENGLISH MUSICIANS IN GERMANY(From a Correspondent).At the great public performance given by the Conservatorium of Leipzig in the Saale des Gewandhauses, on Monday evening, the 23rd April, in the presence of 2,000 persons, amongst whom were the most distinguished of the professors and dilettanti of Germany; the two daughters of the English composer, John Barnett, carried away all the honours of the institution, both for their perperformance upon the piano and their singing. The eldest has already been mentioned by the Press for her fine contralto voice and great promise as a vocaliste. The Leipziger

HER MAJESTY'S THEATRE.

last week, although not belonging to the subscription, attracted THE first performance of Lucrezia Borgia, on Friday night last week, although not belonging to the subscription, attracted a full attendance. Signor Everardi was the Duke; Signor Mongini, Gennaro; and Madame Borghi-Mamo Maffeo Orsini. Mdlle. Titiens' Lucrezia was as grand as ever. Her "M' odi, m' odi," in the last act, as an example of brilliant vocalisation, could hardly be surpassed. Signor Mongini was eminently successful, and earned well-merited laurels in an interpolated air (Act III.). which was enthusiastically encored. Madame Borghi-Mamo was, of course, obliged to repeat the brindisi, which she sang with the utmost animation. The trio in the second act (Lucrezia, Gennaro and Alfonso), "Guai se ti fuggi," was, as usual, encored. Lucrezia Borgia was repeated on Thursday, this time Signor Vialetti representing the Duke. On Saturday Almina was performed for the second time, and on Monday, for the third and last time-the occasion being Mdlle. Piccolomini's farewell appearance. The theatre was not so crowded as might have been expected. Every place, however, filled. It is to be regretted that Malle. Piccolomini did not take was paid for, and the stalls, pit, amphitheatre, and gallery, were her leave in the Traviata, with which she has so closely identified herself. Had Signor Verdi's opera been given, the house, we have no doubt, would have been crammed. The heroine of the evening, notwithstanding, had no reason to be discontented with her reception. The applause was genuine and legitimate, the display of bouquets tremendous, while wreaths, laurels, and garlands were not wanting. At one time, indeed, Mdlle. PiccoTomini had to call in the aid of Signors Giuglíni and Aldighieri, to assist her in carrying off the floral contributions. But the climax was not reached until after the duet from the Martiri, which terminated the performance, and in which Mdlle. Piccolomini and Signor Giuglini created a furore, the last movement being encored with vehement applause. The audience now became furiously enthusiastic, and called for Mdlle. Piccolomini oftener than we remember, each time covering the stage with bouquets. Mdlle. Piccolomini contrived at last to make her escape, and the curtain was drawn for ever between her and the public.

Mdlle. Piccolomini's career has been equally brilliant and unaccountable. Perhaps no artist with such slender means ever before achieved so great a reputation. That a good deal of the sensation must be attributed to her energy and command of expression will be admitted; but still more, we fancy, should be referred to the entire originality of her style. It was impossible to compare her with any one else, and thus she was exempt from a judicial process often dangerous to questionable reputations. Mdlle. Piccolomini may not perhaps be greatly missed from the lyric boards; but years are likely to elapse before so decided a favourite with the general public is seen again. For our own parts we are sorry to lose her, since, whatever her short-comings, she had undoubted genius, and this, allied to youth and indomitable will, might in the end have made her a thorough artist.

Otello was given for the second time on Tuesday, and attracted a full attendance. Madame Borghi-Mamo sang even better than on the first night, and was again rapturously encored in "Assisa à pic d'un salice." Signor Mongini (Otello), was as striking and vigorous as before, and the quick movement of the duet, "Non m'inganno," with Signor Everardi (Iago)—was encored with acclamations.

Don Giovanni is announced for to-night-Signor Everardi as the hero; Madame Borghi-Mamo as Zerlina; Mdlle. Vaneri, Elvira; Mdlle. Titiens, Donna Anna; Signor Vialetti, Leporello; Signor Aldighieri, Masetto; and Signor Giuglini, Don Ottavio.

ROYAL ITALIAN OPERA. ON Saturday, La Favorita was given for the second time. The performance offered no new feature, with the exception that Signor Mario sang with greater command of voice than on Tuesday. On Tuesday, Fra Diavolo, presented for the first time since 1858, brought back Sig. Ronconi as Lord Allcash. The cast has undergone some changes, Mad. Miolan-Carvalho being substituted for Mad. Bosio in Zerlina, and Mdlle. Corbari for Mdlle. Marai in Lady Allcash. The other characters are sustained as before. While some parts of the opera went to perfection, we confess to have heard a better performance of Fra Diavolo at the Royal Italian Opera. Mad. Miolan-Carvalho feeling, perhaps, the responsibility of coming immediately after Mad. Bosio in one of that lamented singer's best parts, and consequently did not do her eminent talents justice. Nevertheless, she evidenced her supremacy as a bravura singer of the French school, and created the greatest sensation of the evening, in an interpolated air (Act II.), her execution of which for brilliancy and fluency could not be surpassed, and which obtained the only encore of the evening. Why the original air in this scene, how ever, should be rejected, we are at a loss to conceive, as it is one of the most beautiful in the opera.

Signor Ronconi's Lord Allcash is not only one of the most remarkable impersonations of modern comedy, but certainly the most varied. It is no use specifying its points on any given nights; the next performance presents something entirely new and undreamt of. It is, however, invariably artistic, and, although occasionally exaggerated, irresistibly comic. To describe what Signor Ronconi did on Tuesday might only lead to expectations never to be gratified, so seldom does he repeat himself. We need say no more than that his acting was never more instinct with fun and drollery, and that the audience was kept in a roar of laughter wherever he was on the stage. Sig. Ronconi modified in some respects the costume of the English nobleman. The last dress, as a caricature of the outré taste of some English travellers, is a masterpiece.

Signor Gardoni sang the music of the Marquis with exceeding grace and finish, and acted with his accustomed ease and intelligence. He gave the serenade "Young Agnes," with infinite sweetness, and was applauded with the warmth due to his merits. Mdlle. Corbari is by far the best Lady Allcash we have seen. She not only sings the music more effectively, conscientiously adhering to the text of the composer, but acts with greater animation and esprit, and looks the pseudo fashionable lady to the life, assuming languishing airs and graces when in repose with true artistic instincts, in every instance displaying an amount of dramatic intelligence for which she has not hitherto been credited. The Giacomo of M. Zelger, the Beppo of Signor Tagliafico (two such thieves are almost enough to engender a certain degree of respect for the profession), and the Matteo of Signor Polonini were, as usual, incomparable in their way; and Signor Neri-Baraldi was correct and painstaking in the music of Lorenzo. The saltarello in the third act was danced to perfection by Mdlle. Zina Richard and her associates.

The house was full, though not crowded, but the applause was hardly so enthusiastic as might have been desired by the lovers of the greatest masterpiece of the Opéra-Comique. Why, too, was the overture taken so fast, from end to end?

CRYSTAL PALACE.

GRAND PERFORMANCE OF MENDELSSOHN'S "ELIJAH." MANY and various were the opinions expressed as to the result (musically speaking) of the performance of Elijah by an orchestra and chorus on the Handel Festival scale. The work itself, containing some of the broadest and most colossal choruses extant, would, it was universally admitted, gain much by the multiplicity of performers, but the delicacy and intricacy of the greater part of the work would prevent the version of the Three Thousand" attaining its proper effect, and the audience (of about 20,000) would not do justice to a masterpiece of the last giant of the art, as it is far removed from the

ad captandum style of writing, which, generally, obtains with the masses, as it is possible for a creation of unshackled genius to be. These three of the multifarious expectations were exactly realised. The performance of both band and choruses was beyond all praise; the "Help Lord" and its clear transparent coda "The deeps afford," the bold "Yet doth the Lord," and the solid and sublime mountain of harmonic effect, "For He the Lord our God;" the melodious and graceful "Blessed are the men;" the three "Baal" choruses; and the hymn of joy, "Thanks be to God," were done with an effect unsurpassable. Yet the instrumental parts of these pieces were in many places undistinguishable by the audience, which was, despite the deficiency, of a remarkably apathetic character on this occasion. The choruses of the second part, which are among the most difficult passages ever written for a large body, were, to the musical ear, the most effective achievements of the day. This alone shows that no further practice of the choir will do more for the work. The "He watching over Israel" and "Behold God the Lord" were very striking, the one from its delicacy and the other from its difficulty.

The soloists exerted themselves to a degree commensurate with the area. Mdlle. Parepa was particularly successful in the enormous room. Her "Hear ye, Israel," deserves particular notice, as it is with us a test, and a severe one, of a singer, being the most splendid piece ever written for a soprano voice. She has fully appreciated its grandeur; and, after a few more times of performance, will vocalise it better than at this, her first attempt. Madame Sainton-Dolby delivers the Jezebel recitatives "O, rest in the Lord," as she alone can. The whole range of musical expression is within her grasp; in all, from the tragedy Queen of Ahab to the soothing notes of the Angel, Madame Sainton is unapproachable. The encores awarded by the elsewhere unenthusiastic listeners were to the last-named aria, and to "Then shall the righteous." Mr. Sims Reeves, the only tenor singer living who can produce an effect on so large an audience, was more than ever admirable. In the two airs written for him, he was inimitable; and his recitative delivery was as forcible as ever. The prophet, by Signor Belletti, well sustains his great reputation as a master of the vocal art. The quartets and minor pieces were done by the clever and musicianly Miss Fanny Rowland, Miss Palmer, of the rich voice, Mr. Lewis Thomas, our real bass, and almost our only one.

What shall we say then? That Elijah is more effective in Exeter Hall than at Sydenham, granted; but we would not have missed the performance yesterday for any temptation that might offer. It is still, as ever, the grandest production of a mind replete with the experience of all who had gone before, of a genius the most original and prolific, of an invention the most ingenious. It will always rival any work we have by any composer whatsoever; and as a masterpiece of instrumental management and colouring, it stands alone.

In the evening the statue of Mendelssohn was unveiled, and a poor affair it is; and a selection from his works was performed by a military band, with some peculiarities as to tempo that were in keeping with the sculptor's achievement.

MONDAY POPULAR CONCERTS.

THE programme of last Monday was not only quite as unex ceptionable as any of its predecessors, but had the additional recommendation of novelty in its favour, no less than four pieces out of the eight being presented for the first time at the Monday Popular Concerts, and one, indeed, for the first time in this country. The directors are earnestly working the rich and apparently inexhaustible vein of good music, much of which has but too long been neglected, under a false notion that the public is incapable of appreciating anything more elevated than ad captandum "odds and ends." However, we may safely say, nous avons changé tout celà and most effectually indeed have we changed it, so far as the Monday audiences at St. James's Hall Dussek's

are concerned.

The Concert opened with a welcome novelty. stringed quartet in E flat, which had never before been heard

in England, executed to perfection by Messrs. Becker, Ries, Doyle, and Piatti. It was listened to with profound attention, and the applause at the end of each movement showed how thoroughly the work was enjoyed. The other two quartets from the same pen are equally interesting, and equally worthy of the attention of the directors. Flourishing at an eventful period in the history of music, a contemporary of Haydn, Mozart, and Beethoven, besides being the centre of a circle of pianists, the most illustrious of whom were Clementi, John Cramer, Field, Stiebelt, Woelf and Pinto, Dussek easily assumed the position to which his talents entitled him ; and now that the public of the present day are beginning to be familiarised with his music, we have little doubt that the name of Dussek will speedily become as well known to lovers of classical music, as that of more modern composers. The term "genial" has been much hacknied (tabooed under a fine in some quarters); yet there is no other that so well expresses the character of Dussek's music, and nowhere is it more forcibly illustrated than by the stringed quartet in E flat, stamped as it is with an individual freshness, combined with perfect scholarship, delightful no less to the uninitiated amateur than to the connoisseur and professed musician. The remaining novelties were the recitative and air of Mozart's, and "Non so donde viede," sung by Mdme. Sainton-Dolby, with the genuine feeling of an artist. Beethoven's sonata in D, Op. 10, No. 3, for pianoforte played (without book) with masterly skill, by Mr. Charles Hallé. Mozart's sonata in B flat, for piano and violin (No 15), (the one composed for Mlle. Strinasacchi, under the romantic circumstances narrated in Oulibicheff's Biography), in which M. Hallé associated with Herr Becker, gave a reading, which left nothing to be desired, and Mr. Hatton's "Day and Night," sung by Mdme. Sainton-Dolby in her most effective manner. M. Hallé and Herr Becker were recalled at the end of Mozart's sonata.

By special desire, Mr. Sims Reeves repeated the recitative and air from Jephthah, which had caused so marked a sensation at his benefit. Anything more touching than the pathos infused into the recitative," Deeper and deeper still," and the air, "Waft her, angels, through the skies," it would be impossible to imagine. An enthusiastic recall was the result. Again did Mr. Reeves entrance his hearers with that bouquet melody of flowers, Beethoven's Lieder Kreis, as Schumann says, "the deepest, most soulful, most wonderful of love-songs," with whom for once in a way, we can cordially agree. Beethoven's trio in E flat (No. 1) brought this capital concert to a close. This was also given for the first time, and its reception should encourage an immediate reference to the other three.

Next Monday, the performance will be exclusively from the works of Mendelssohn; Mr. Sims Reeves, Mr. Charles Hallé, M. Sainton, and the London Glee and Madrigal Union being engaged.

AMATEUR MUSICAL SOCIETY.

THE crowded state of our columns will not allow us to do more than briefly chronicle the proceedings of last Monday evening. The following was the selection:

PART I.-Symphony, in D-Beethoven. Song, "The beating of my own heart," Miss Fanny Rowland-G. A. Macfarren, Trio, for violin, violoncello, and contrabasso, No. 5, Hon. Seymour Egerton, Mr. Henry Robley, and Rev. Dr. Rowden-Handel. Glee, "Once upon my cheek," Miss Fosbroke, Mrs. Dixon, Mr. Henry Regaldi, and Mr. Hodson-Callcott. Aria, "Casta Diva" (Norma), Madlle. Werner -Bellini. Overture (Ruy Blas), Mendelssohn.

The only other feature calling for particular notice was the charming singing of the glee party. The last concert of the season will take place on Monday week.

CONCERTS.

SACRED HARMONIC SOCIETY.-The performance of Israel in Egypt on Friday week does not call for any lengthened comment, inasmuch as its right to rest on the same basis as the Messiah has long been accorded by the public, who evidence their appreciation of its excellence by the enormous attendance invariably present whenever and wherever it is performed. Exeter Hall, therefore, presented its usual appearance on the night in question; every part being densely crowded long before the commencement of the oratorio. To speak first of the choruses, which occupy by far the largest share of the work, it is sufficient to remark that they were given generally with that precision, combined with due attention to light and shade, to which their recent training under Mr. Costa has led us to expect, and produced the customary effect upon the audience, who loudly encored the "Hailstone chorus," and were frequent in their applause. Mr. Sims Reeves declaimed the terribly trying air, "The enemy said," with such tremendous energy that it was impossible to resist the calls for its repetition. Mdlle. Parepa did her best with the only air affording her an opportunity for display, "Thou didst blow," but, whether it was owing to the recollection of Madam Clara Novello (whom we are so soon to lose), did not altogether satisfy the critical ear. Malle. Parepa has fine natural gifts, but has not yet learnt all that is necessary to make a Handelian singer. Of Madame Sainton-Dolby we have only praise to utter, delivering the air, "Thine hand brought forth," in her most ingenious and finished manner. Miss Fanny Rowland sang with excellent skill and judgment, although her voice was somewhat overweighted by the more powerful organ of the composer. The duet, "The Lord is a man of war," met with the customary encore, and was sung by Signor Belletti and Mr. Santley without straining after that violent effect which generally makes this piece a shouting match rather than a vocal performance. Perhaps it might have been owing to the fact that neither gentleman can be considered a "basso profundo," being, strictly speaking, baritones. At the next performance Haydn's Creation is to be performed.

SOCIETY OF BRITISH MUSICIANS.-A trial of new music took lace at St. Martin's Hall, on Saturday last.

MR. HENRY LESLIE'S CHOIR.-The programmes of these entertainments have been occasionally blameworthy for sameness and repetition; the selections at the last two, however, exhibited novelties which relieved the monotony, and by their own intrinsic value raised the character above the somewhat trivial standard of former concerts. The Op. 78, No. 2 of Mendelssohn, a motet, for an eight part choir (given for the second time), is a work abounding in the most beautiful effects that the art of music can attain. The contrast of the unisonous opening with the harmonised close in each of the three first of the part writing throughout the work is ingenious and verses is as felicitous as the splendid and masterly counterpoint The eight parts are mostly "real" parts; and like many other works from the same pen, vocal and instrumental, reminds one frequently of the works of J. S. Bach, the emperor of the motet world, past, present, and to come.

skilful.

The other great attraction of the evening was the "Paternoster," of Meyerbeer. While it is a great, and not ineffective, contrast to the work of Mendelssohn, it is replete with elegant musical

Conductor-Mr. Henry Leslie.

Madame Piatti fairly astonished us by her admirable performance of Mendelssohn's Concerto, for we had no notion she possessed such talent as she displayed. She was much applauded, and most deservedly so.

prominent attraction impedes the flow of the melody in no single point. A song, by Mr. Henry Smart, "The Rhine is gently flowing," deserves especial mention, as one of the best of all his excellent works. A glee, of Callcott, "Once upon my cheek," was perfectly sung by Miss Fosbroke, Mrs. Dixon, Mr. Regaldi and Mr. Hodson.

The remainder of the programme presented no feature of interest or novelty, but the execution of the works showed no

falling off in the capabilities of the choir. The Misses Leffler were announced for a vocal duet by Mr. Henry Leslie, but did not appear. The arrangement, by the same composer and conductor, of "Rule Britannia," was substituted, and most vociferously encored. The same distinction was accorded to the motet (Mendelssohn), and the glee "Once upon my cheek."

Mr. J. G. Calcott, the useful pianoforte accompanist of the solo pieces at the performances of Mr. Leslie's choir, played the wellknown "Study in A minor," of Thalberg, and a Polonaise, by Weber, L'Hilarité. Mr. Calcott's playing in solo is, however, we think, a mistake.

MR. AND Mrs. HOWARD PAUL re-appear at St. James's Hall on Monday, in their clever illustrations of character, with a variety of new songs. At the end of this month the present entertainment will be discontinued in London.

ISLINGTON-Mr. H. Carvill gave his third annual concert on Wednesday evening, the 11th inst. at Myddleton Hall. In connection with the Islington Choral Society, he had a select madrigal choir, the Quartet Glee Union, and the following vocalists:-Miss Harrington, Miss E. Horder, Mrs. Robert Paget, R.A.M.; Mr. C. Henry, Mr. A. Lester, and Mr. Suchet Champion, with Mr. P. Watts, the concertina player, and Herr Albert Pieczonka and Mr. C. W. Jordan, pianists. Conductors, Messrs. G. W. Martin and H. Carvil. Some part songs and glees received every justice from the Choir and Glee Union. Miss Harrington sang Meyerbeer's" Robert, toi," and, with Mr. S. Champion, Wallace's "O, Maritana." Mrs. R. Paget, the favourite contralto, sang with artistic feeling "Rocked in the cradle of the deep," and Wallace's "Gentle Troubadour,' (Lurline); Mr. A. Lester, in Balfe's "Sweetheart," made a favourable impression. Miss E. Horder, in "Yarico to her Lover," and Rode's air, sang effectively; Mr. S. Champion, in Reichardt's "Thou art so near," and "My love is like the red, red rose," was loudly applauded. The concertina playing of Mr. P. Watts pleased much; and the pianoforte solo by Herr Albert Pieczonka gave satisfaction to all present.

FOREIGN.

BREMEN, April 3rd, 1860.-Our cyclus of "private concerts" was brought to a close last Tuesday, on which occasion we had an eminently classical programme, Haydn and Mozart, Beethoven and Cherubini, Spohr and Weber, being represented in it. The old master, Bach, also, was included in the band of illustrious deceased composers, and only one piece reminded us that we belonged to a later age. We allude to the violin concerto, performed by our visitor, Herr Joachim. This valuable and comprehensive composition has not long been completed. It was performed for the first time, not a fortnight since, before a large audience in Hanover. But it is not merely written in the Present, and conceived in the spirit of the age; it will, also produce its effect on the public of the Present; it is far from being Music of the Future, inasmuch as it will not have to wait till the Greek Kalends before its success is decided. There are, perhaps, not many modern musical compositions which, while so conscientiously carried out, and so carefully avoiding claptrap, produce so immediate and constantly increasing an effect. But there is also a future in store for it. We feel that this composition contains many treasures, which will be completely appreciated by the hearer only when he has heard it repeated several times, and since, on account of the great technical qualification it demands, qualifications which few of our present violinists, besides its author, possess, it cannot be repeated very often, it will not soon cease to be new. This concerto, which bears the title "Nach Ungarische Weise," consists of three movements-an allegro, a romance, and a finale, "alla zingarese" ("in the Zingaro fashion"). The last trans

the movement, before the violin chimes in and developes what has been thus performed; even in the interesting and elaborate cadence the solo instrument feels lonely, and calls to its aid some gentle sister instruments from the band. In the romance, however, this subordination ceases, and the orchestra and violin, as equal powers, enter on a course of beautiful melodic rivalry, at last combining in graceful harmonic unity; while, finally, in the third movement-the impulsive, sparkling, foaming presto, as restless as the inconstant Zingaros themselves-the violin, as a matter of course, assumes completely the upper hand; it decidedly takes the lead, although, even here, a few strains from the orchestra, now and then, mingle most charmingly in the musical maze. Both the composition and its rendering were received most warmly by the audience, and, after the second piece played by our guest-the songful adagio from Spohr's seventh concerto, given with the most feeling tenderness-the applause was so unusually great, that, in return, he could not avoid making such a return as only he is capable of making. He played one of Bach's chaconnes-the same which he introduced on a previous occasion. Whenever Herr Joachim performs one of these compositions, we think that greater perfection of execution is impossible, but every repetition seems to prove that such threads of this marvellous weft of tone appeared finer and clearer an opinion is erroneous. Even in the chaconne, the delicate

than ever.

The selections from Mozart and Haydn were again confided to Madame Engel, who sang, with good taste and her usual neatness, an air from the latter composer's Creation, and an air from the Idomeneo of the former (an air which is easily recognisable from its similarity to the Tamino air in Die Zauberflöte). The concert opened with Beethoven's Symphony in C minor, in which our orchestra is well up, and which it played once this winter at one of the "Symphonieconcerte." The symphony was admirably rendered. Of the two overtures, that of Cherubini to Medea was but coldly received, while that of Weber to Der Freischütz, enthusiastically executed, produced its accustomed exciting impression.

All's well that ends well! Thus may we conclude our concertnotices for a time, while looking back on the evening when the star of our greatest and most genial master of the violin shone in the musical firmament.-Weser Zeitung.

PARIS.-Alary has returned to Paris after a brilliant season at Madrid. At St. Petersburg, it is said that, amongst the artists engaged for next season, are Mesdames Nantier-Didiée, Bernardi, Zoretti; Signors Tamberlik, Calzolari, Mongini, &c.; and, it is said, Mdlle. Carvalho has been offered 20,000 francs a month. Madame Rosati has also returned to Paris.

Wieden, Italian operas are being given with Madlle. Grua, VIENNA (Extract from a Letter).-At the Theatre à la Madame Charton, Mdlle. Lafont, and MM. Graziani, Fagotti, Ballerina, &c. Il Barbiere, the opening performance, with the exception of Madame Charton's Rosina, and Signor Fagotti's Figaro, was by no means first-rate. Mdile. La Grua will make her début in Norma shortly.

MOZART'S TWELFTH MASS and ROSSINI'S STABAT MATER, arranged in the most effective manner for the Pianoforte, by Henry Smart, price 3s. each, complete, or handsomely bound, 5s. each. Boosey and Sons, Holles-street.

SONG FOR THE VOLUNTEERS.-" The Good

movement, the Hungarian rhythms are perceptible, while, in the first allegro, as well, the motives present the same character. As is well known, Joachim was born in Hungary, and thus it was an easy task for him, guided by the reminiscences of his youth, to give the musica natural colour, without borrowing any particular melodies. The work is far from being calculated for the exclusive display of virtuosity, as the composer has done full justice to the claims of the orchestra. In the first movement, indeed, the orchestra, to a certain extent, predominates, expressing, in a pleasing introduction, nearly the whole melodious substance of

shed this day by Boosey and Sons, Holles-street,

that most loud, (sung by Mr. Santley at the Monday Popular Concerts); EW SONGS BY J. W. DAVISON, " Rough wind

"Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular Concerts); False friend, wilt thou smile or weep," Beatrice's song in the Cenci, (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale and Co, 201, Regent-street.

The above Songs form Nos. 1, 2, and 3, of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His song, Rough wind that moanest loud,' is a thoroughly good song."-Athenæum,